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Michael Newberry, a Wet Canvas member, and professional artist once offered one of the most general, and useful "rules" of composition that I ever heard. After observing many of the popular, old masters' paintings, he determined that each one of them had one thing in common--each of them had some "interesting shape" in each of the 4 corners of the painting.

This does not mean that one should put a bird in one corner, a rock in one corner, a tree branch in one corner, etc., etc. An "interesting shape" can merely be a difference in values in a sky, or the ground or water.

That really doesn't seem like much of a "rule", and it is not very "profound", but since I have been concentrating upon including such a concept in my paintings, I've noticed a bit more successes in terms of their appeal. It is also one "rule" or "suggestion" of composition that is relatively easy to accomplish for most any artist, and if there were ever to be a general, "rule of compositon explained in one easy lesson," this would be it.

I am conscious of this "rule" every time I create a painting, and to me it has seemed to be good advice, based upon my experience with using it.

I think if one were to combine this simple "concept" with several other, more widely recognized, and often taught rules of composition, one would be well on their way toward the completing of more appealing paintings. And, if there were to be any rule of composition that I would suggest using nearly every time, this would be the one.

Go to school.
Take classes.
Learning about Art is not an Internet thing.
Interaction with others in a real-life setting is invaluable.
Even just a few classes at a community college or local art center will teach you more than just reading can ever do.

but read. buy every used art book you can afford and read them.
then practice. and practice. and practice.
and copy the Masters.
then post your attempts and you will grow from the experience.

A good composition is one that has its own internal logic... that makes sense for the painting and intentions of the artist. A good composition leads the eye of the viewer to that which the artist feels in most important (focal point) but doesn't leave the viewer "trapped" in this single point, but rather continues to lead the eye around the painting through the use of line, value, contrast, etc...

Rather than "rules" you should look at paintings and ask yourself where is you eye being led and how has the artist achieved this? The composition.... the mechanics... the manner in which the artist leads us to "read" a painting is the result of decisions made employing the various art elements and principles. Recognize that every "rule", such as Bill's 4 corners rule, has endless exceptions:

I personally like to employ a triad of three main focal areas to create a degree of movement while utilizing a harmony of 2 or 3 contrasting/complimentary colors. But that is just me. What works for you is dependent upon your manner of working, your intentions, etc...

__________________Saintlukesguild-http://stlukesguild.tumblr.com/
"Beauty is truth, truth beauty—that is all ye know on earth and all ye need to know." - John Keats
"Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea."- John Ciardi

StLukesguild...terrific explanation. Would you allow me to quote you on my blog when i get around to talking about composition?

And for the poster........I recommend Greg Albert's book "the Simple Secret to Better Painting". It is very user-friendly, but has very sound advice and help for someone hoping to improve the design/composition of their paintings.

Recognize that every "rule", such as Bill's 4 corners rule, has endless exceptions:

Absolutely. That's why I also mentioned.....

Quote:

I think if one were to combine this simple "concept" with several other, more widely recognized, and often taught rules of composition, one would be well on their way toward the completing of more appealing paintings.

I'm only pointing out that this is one concept which has helped me immensely, as well as being comparatively easily understood, and almost immediately applicable.

A good composition will have a focal point whereas a bad one won't have a defined central focal point. Of course, this rule is thrown out if you consider Dadaism and Surrealism, where the artists tried throwing the "rules" out.

But Jackson Pollock and other Abstract Expressionists don't use focal points and yet they have good compositions? How's that possible, you ask?

I believe one way of answering that is to say that they intended the entire work to be the focal point instead of a section or portion of the work.

Is a composition always logical? or follow form? No. But most good ones do. Sometimes you have to get into the mind of the artist to really understand his logic or motivations.

I believe this will give you some sense...
also, when the series is released by F&W (owners of Wetcanvas), I taught a five week online virtual classroom on Go To Meeting on Fundamentals, "...For Reasons Paintings Work"...

should be available soon this coming Feburary...and I spent the very first session especially hammering on composition concepts...